Credits

8/17 – 10/17

Corporate — Wiser Post Details

8/17 – 10/17

Created slates within Photoshop to place into offline exports from creative trailer vendors and then exported the offline within Premiere Pro to the correct Apple Pro Res file to send to Online Editors.
Handled Source Connect sessions with Sound and Mixing company within Pro Tools and made sure every offline or CTM was lined perfectly with the correct timecode to insure that none of the dialogue was off.
Exported quality approvals from CTMS in H264 format and then Mastered Texted and Textless files in 1080p, 1080x1080 square format for social media and 1080x1920 vertical format for snapchat to send to distribution studio.
Exported every mastered file to a 24 bit stereo file for texted files and a 24bit 8 channel mono for textless files.
Listed trailer info within Microsoft Excel to insure time codes, camera information and visual effects info were correct.

6/17 – 8/17

DISNEY — Game Show (TV) — Digomind Productions, for Disney XD Details

6/17 – 8/17

Assisted Editors with Turnover. Separated picture, Picture and Picture, graphics and gameplay footage into separate tracks and then exported EDLs to send via Aspera to a Finishing Facilities.
Separated audio tracks with putting stereo and mono tracks on different tracks. Then exported AAFs to also send via Aspera to a Finishing facility.
Created ending credits for the show and insured they were title safe for broadcast.

6/17 – 8/17

DISNEY — Game Show (TV) — Digomind Productions, for Disney XD Details

6/17 – 8/17

Assisted Editors with Turnover. Separated picture, Picture and Picture, graphics and gameplay footage into separate tracks and then exported EDLs to send via Aspera to a Finishing Facilities.
Separated audio tracks with putting stereo and mono tracks on different tracks. Then exported AAFs to also send via Aspera to a Finishing facility.
Created ending credits for the show and insured they were title safe for broadcast.

6/17 – 8/17

DISNEY — Game Show (TV) — Digomind Productions Details

6/17 – 8/17

Assisted Editors with Turnover. Separated picture, Picture and Picture, graphics and gameplay footage into separate tracks and then exported EDLs to send via Aspera to a Finishing Facilities.
Separated audio tracks with putting stereo and mono tracks on different tracks. Then exported AAFs to also send via Aspera to a Finishing facility.
Created ending credits for the show and insured they were title safe for broadcast.

6/17 – 8/17

DISNEY — Game Show (TV) — Digomind Productions Details

6/17 – 8/17

Assisted Editors with Turnover. Separated picture, Picture and Picture, graphics and gameplay footage into separate tracks and then exported EDLs to send via Aspera to a Finishing Facilities.
Separated audio tracks with putting stereo and mono tracks on different tracks. Then exported AAFs to also send via Aspera to a Finishing facility.
Created ending credits for the show and insured they were title safe for broadcast.

6/17 – 8/17

DISNEY — Game Show (TV) — Digomind Productions Details

6/17 – 8/17

Assisted Editors with Turnover. Separated picture, Picture and Picture, graphics and gameplay footage into separate tracks and then exported EDLs to send via Aspera to a Finishing Facilities.
Separated audio tracks with putting stereo and mono tracks on different tracks. Then exported AAFs to also send via Aspera to a Finishing facility.
Created ending credits for the show and insured they were title safe for broadcast.

6/17 – 8/17

DISNEY — Game Show (TV) — Digomind Productions Details

6/17 – 8/17

Assisted Editors with Turnover. Separated picture, Picture and Picture, graphics and gameplay footage into separate tracks and then exported EDLs to send via Aspera to a Finishing Facilities.
Separated audio tracks with putting stereo and mono tracks on different tracks. Then exported AAFs to also send via Aspera to a Finishing facility.
Created ending credits for the show and insured they were title safe for broadcast.

9/16 – 8/17

Internet — Bach Enterprises, LLC

9/16 – 8/17

4/17 – 5/17

YOUTUBE — Reality/Doc (TV) — AwesomenessTV Details

4/17 – 5/17

- Ingested, converted and transcoded footage to be imported into the main AE project. - Created multicam sequences for the entire season from old archival footage to newly shot footage from the company. - Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras. - Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs. - Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks. - Fixed audio levels and adjusted the image masking to various clips with effects. - Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project. - adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot. - Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story. - Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement. - Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast. - Exported each episode with proper timecode presets and uploaded to the wire drive network to be shared with the network producers.

4/17 – 5/17

YOUTUBE — Reality/Doc (TV) — AwesomenessTV Details

4/17 – 5/17

- Ingested, converted and transcoded footage to be imported into the main AE project. - Created multicam sequences for the entire season from old archival footage to newly shot footage from the company. - Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras. - Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs. - Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks. - Fixed audio levels and adjusted the image masking to various clips with effects. - Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project. - adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot. - Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story. - Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement. - Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast. - Exported each episode with proper timecode presets and uploaded to the wire drive network to be shared with the network producers.

4/17 – 5/17

YOUTUBE — Reality/Doc (TV) — AwesomenessTV Details

4/17 – 5/17

- Ingested, converted and transcoded footage to be imported into the main AE project. - Created multicam sequences for the entire season from old archival footage to newly shot footage from the company. - Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras. - Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs. - Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks. - Fixed audio levels and adjusted the image masking to various clips with effects. - Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project. - adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot. - Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story. - Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement. - Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast. - Exported each episode with proper timecode presets and uploaded to the wire drive network to be shared with the network producers.

4/17 – 5/17

YOUTUBE — Reality/Doc (TV) — AwesomenessTV Details

4/17 – 5/17

- Ingested, converted and transcoded footage to be imported into the main AE project. - Created multicam sequences for the entire season from old archival footage to newly shot footage from the company. - Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras. - Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs. - Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks. - Fixed audio levels and adjusted the image masking to various clips with effects. - Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project. - adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot. - Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story. - Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement. - Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast. - Exported each episode with proper timecode presets and uploaded to the wire drive network to be shared with the network producers.

4/17 – 5/17

YOUTUBE — Reality/Doc (TV) — AwesomenessTV Details

4/17 – 5/17

- Ingested, converted and transcoded footage to be imported into the main AE project. - Created multicam sequences for the entire season from old archival footage to newly shot footage from the company. - Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras. - Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs. - Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks. - Fixed audio levels and adjusted the image masking to various clips with effects. - Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project. - adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot. - Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story. - Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement. - Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast. - Exported each episode with proper timecode presets and uploaded to the wire drive network to be shared with the network producers.

4/17 – 5/17

YOUTUBE — Reality/Doc (TV) — AwesomenessTV Details

4/17 – 5/17

- Ingested, converted and transcoded footage to be imported into the main AE project. - Created multicam sequences for the entire season from old archival footage to newly shot footage from the company. - Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras. - Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs. - Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks. - Fixed audio levels and adjusted the image masking to various clips with effects. - Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project. - adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot. - Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story. - Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement. - Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast. - Exported each episode with proper timecode presets and uploaded to the wire drive network to be shared with the network producers.

1/17 – 2/17

VICE — Reality/Doc (TV) — Pulse Films Details

1/17 – 2/17

- Ingested, converted and transcoded footage to be imported into the main AE project.
- Created multicam sequences for the entire season from old archival footage to newly shot footage from the company.
- Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras.
- Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs.
- Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks.
- Fixed audio levels and adjusted the image masking to various clips with effects.
- Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project.
- adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot.
- Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story.
- Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement.
- Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast.
- Exported each episode with proper timecode presets and uploaded to Frame io to be shared with the network producers.

1/17 – 2/17

VICE — Reality/Doc (TV) — Pulse Films Details

1/17 – 2/17

- Ingested, converted and transcoded footage to be imported into the main AE project.
- Created multicam sequences for the entire season from old archival footage to newly shot footage from the company.
- Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras.
- Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs.
- Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks.
- Fixed audio levels and adjusted the image masking to various clips with effects.
- Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project.
- adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot.
- Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story.
- Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement.
- Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast.
- Exported each episode with proper timecode presets and uploaded to Frame io to be shared with the network producers.

1/17 – 2/17

VICE — Reality/Doc (TV) — Pulse Films Details

1/17 – 2/17

- Ingested, converted and transcoded footage to be imported into the main AE project.
- Created multicam sequences for the entire season from old archival footage to newly shot footage from the company.
- Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras.
- Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs.
- Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks.
- Fixed audio levels and adjusted the image masking to various clips with effects.
- Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project.
- adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot.
- Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story.
- Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement.
- Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast.
- Exported each episode with proper timecode presets and uploaded to Frame io to be shared with the network producers.

1/17 – 2/17

VICE — Reality/Doc (TV) — Pulse Films Details

1/17 – 2/17

- Ingested, converted and transcoded footage to be imported into the main AE project.
- Created multicam sequences for the entire season from old archival footage to newly shot footage from the company.
- Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras.
- Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs.
- Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks.
- Fixed audio levels and adjusted the image masking to various clips with effects.
- Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project.
- adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot.
- Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story.
- Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement.
- Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast.
- Exported each episode with proper timecode presets and uploaded to Frame io to be shared with the network producers.

1/17 – 2/17

VICE — Reality/Doc (TV) — Pulse Films Details

1/17 – 2/17

- Ingested, converted and transcoded footage to be imported into the main AE project.
- Created multicam sequences for the entire season from old archival footage to newly shot footage from the company.
- Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras.
- Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs.
- Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks.
- Fixed audio levels and adjusted the image masking to various clips with effects.
- Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project.
- adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot.
- Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story.
- Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement.
- Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast.
- Exported each episode with proper timecode presets and uploaded to Frame io to be shared with the network producers.

1/17 – 2/17

VICE — Reality/Doc (TV) — Pulse Films Details

1/17 – 2/17

- Ingested, converted and transcoded footage to be imported into the main AE project.
- Created multicam sequences for the entire season from old archival footage to newly shot footage from the company.
- Trouble shot multicams that were not shot with external audio with combined footage shot with two different cameras.
- Consolidated sequences from over an hour of running time down to five minute scenes to assist with editors needs.
- Cleaned timelines to editors needs. Separated graphics, titles, audio and sound effects to their own designated tracks.
- Fixed audio levels and adjusted the image masking to various clips with effects.
- Researched music that tailored for each episode and organized them in a specific project to be imported directly into an editors project.
- adhered to legal needs by marking each clip that did not pass copyright inspection. Therefore created blurs that were masked throughout each shot.
- Created markers on extended driving clips that included heavy dialogue pivotal to certain scenes. Transferred those markers over the Microsoft Excel so that editors would have a breakdown of dialogue cue that is important to the story.
- Adhered to broadcast standards for subtitles and fonts. Created and provided QC for each subtitle placement.
- Created slates within Photoshop to play in the front of the episodes for internal network review. Timed act breaks for network review and commercial time breaks for broadcast.
- Exported each episode with proper timecode presets and uploaded to Frame io to be shared with the network producers.

1/17 – 1/17

Corporate — HD Films Details

1/17 – 1/17

- Set up external hard drives with footage.
- Brought and organized all footage into Premiere Pro to be organized by all 8 camera sources.
- Organized and created a multic cam sequence with all 8 Go Pro cameras that were shooting at once. Cleaned up sequences were certain cameras would cut on and back off.
- Disabled audio for certain sequences where audio is heard in the background from scenes that weren't than what the main focus was on. Created a separate multi cam sequence and disabled audio from the previous sequence for scenes that were originally in the background but were not the main focus.

12/16 – 12/16

Corporate — HD Films Details

12/16 – 12/16

I uploaded footage to then be transcoded from 4K to 1080P and then organized the footage by camera source. Created bins pertaining to sources within Premiere Pro. Created multi cams for as many as 15 cameras and string outs for each source.

9/16 – 12/16

Corporate — HD Films Details

9/16 – 12/16

I worked as the only AE for a 6-episode documentary on video game culture where I provided transcriptions for interviews and transcoded footage as it arrived. I uploaded substantial amounts of hours of footage and then organized them by camera source and episodes. Created bins pertaining to sources and episodes within Premiere Pro. Created multi cams for as many as 8 cameras and string outs for each individual and event pertaining to episode. Maintained external hard drives and backed up footage continuously everyday for 3 editors to have an update of footage shot daily.

9/16 – 12/16

Corporate — HD Films Details

9/16 – 12/16

I worked as the only AE for a 6-episode documentary on video game culture where I provided transcriptions for interviews and transcoded footage as it arrived. I uploaded substantial amounts of hours of footage and then organized them by camera source and episodes. Created bins pertaining to sources and episodes within Premiere Pro. Created multi cams for as many as 8 cameras and string outs for each individual and event pertaining to episode. Maintained external hard drives and backed up footage continuously everyday for 3 editors to have an update of footage shot daily.

9/16 – 12/16

Corporate — HD Films Details

9/16 – 12/16

I worked as the only AE for a 6-episode documentary on video game culture where I provided transcriptions for interviews and transcoded footage as it arrived. I uploaded substantial amounts of hours of footage and then organized them by camera source and episodes. Created bins pertaining to sources and episodes within Premiere Pro. Created multi cams for as many as 8 cameras and string outs for each individual and event pertaining to episode. Maintained external hard drives and backed up footage continuously everyday for 3 editors to have an update of footage shot daily.

9/16 – 12/16

Corporate — HD Films Details

9/16 – 12/16

I worked as the only AE for a 6-episode documentary on video game culture where I provided transcriptions for interviews and transcoded footage as it arrived. I uploaded substantial amounts of hours of footage and then organized them by camera source and episodes. Created bins pertaining to sources and episodes within Premiere Pro. Created multi cams for as many as 8 cameras and string outs for each individual and event pertaining to episode. Maintained external hard drives and backed up footage continuously everyday for 3 editors to have an update of footage shot daily.

9/16 – 12/16

Corporate — HD Films Details

9/16 – 12/16

I worked as the only AE for a 6-episode documentary on video game culture where I provided transcriptions for interviews and transcoded footage as it arrived. I uploaded substantial amounts of hours of footage and then organized them by camera source and episodes. Created bins pertaining to sources and episodes within Premiere Pro. Created multi cams for as many as 8 cameras and string outs for each individual and event pertaining to episode. Maintained external hard drives and backed up footage continuously everyday for 3 editors to have an update of footage shot daily.

9/16 – 12/16

Corporate — HD Films Details

9/16 – 12/16

I worked as the only AE for a 6-episode documentary on video game culture where I provided transcriptions for interviews and transcoded footage as it arrived. I uploaded substantial amounts of hours of footage and then organized them by camera source and episodes. Created bins pertaining to sources and episodes within Premiere Pro. Created multi cams for as many as 8 cameras and string outs for each individual and event pertaining to episode. Maintained external hard drives and backed up footage continuously everyday for 3 editors to have an update of footage shot daily.

8/16 – 10/16

Film (Short) — PMP Productions Details

8/16 – 10/16

I uploaded substantial amounts of hours of footage and then transcoded the RED RAW files for Premiere. Created bins pertaining to scenes within Premiere Pro. Synced all external audio with the clips and edited the final film to be at 45 minutes.

YOUTUBE — Reality/Doc (TV) — DanceOn - Youtube Channel Details

10/15 – 10/15

9/15 – 10/15

Corporate — MEGA Media Entertainment Details

9/15 – 10/15

I organized and synced footage from the 3 day event from 4K footage. I edited a 6 minute highlight to music and several 15 second social media pieces with interview segments with such celebrities as Cedric the Entertainer, Jay Harris, The Property Brothers, Brian McKnight and Coach Mike Woodson of the Clippers.

6/15 – 7/15

KCP — Music Video Details

6/15 – 7/15

Directed and edited this music video capturing KCP on a lonely railroad and a bridge during the rain as he expressed his struggle and determination to rise above his obstacles and provide for himself and his family with his passion.

Internet Details

3/15 – 3/15

3/15 – 3/15

Youtube Channel — Internet Details

3/15 – 3/15

Directed and Edited this promotional video for the Nu Eta Chapter of Omega Psi Phi and the Mu Nu Chapter of Delta Sigma Theta for their annual joint chapter philanthropy week event that brings in a total of 10,000 attendees.

Film (Short) — Florida State University College of Motion Picture Arts Details

4/13 – 4/13

4/13 – 4/13

Film (Short) — Florida State University College of Motion Picture Arts Details

4/13 – 4/13

Key Grip on the award winning student short film "Little Africa" . This film required dolly gripping as well as various rigorous challenges that was pulled off with a 3 person G&E crew. I was in charge of all equipment and responsible for driving the grip truck to and from set.